رسالت شعر و شاعری در مصیبت نامه عطار، شاعری از خراسان، مهد شعر فارسی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
عطار نیشابوری، شاعر و عارف قرن ششم و اوایل قرن هفتم هجری، نظریه های جامعی درباره ی رسالت شعر و شاعری دارد. خراسان مهدِ شعر فارسی دری است؛ از این جهت، در شکل گیری نظریه ی شعری فارسی تأثیر بسزایی داشته است. یکی از مهم ترین آثار عطار مصیبت نامه است که در آن شعر بیرون از جهان شعری و با دیدی فلسفی روایت شده است. پژوهش حاضر، که به شیوه ی توصیفی تحلیلی انجام شده، مقوله ی رسالت شعر و شاعری از دیدگاه عطار در مصیبت نامه را به طورکامل تحلیل و طبقه بندی کرده است. پس از بررسی مصیبت نامه و استخراج ابیات موردنظر، اشعار موجود در چهار دسته طبقه بندی شدند که عبارت اند از: 1. رسالت شعر و شاعری در برابر مخاطب که شامل توجه به نگرش دینی و ظرف وجودی مخاطب است؛ 2. رسالت شعر و شاعری در برابر شاعر که شامل توجه به توسعه ی وجودی او و فارغ بودنش است؛ 3. رسالت شعر و شاعری در برابر شعر که نخستین آن، پرهیز از تکلّف است و سپس در دو دسته ی کلی رسالت صوری و محتوایی بررسی شده است. رسالت صوری شامل عروض و قافیه دانی است و زیرمجموعه های رسالت محتوایی عبارت اند از: رسالت شرعی، حکمی، پرهیز از مدح، هزل و بکرسرایی؛ 4. رسالت شعر و شاعری برای ملزم کردن شعر و شاعر به خاموشی در برخی امور که این مقوله در دو دسته ی حکیمانه و عارفانه بررسی شده است.The Message of Poetry and Poetics in Attar’s Moṣībat-nāma: A Poet from Khorasan, the Cradle of Persian Poetry
Introduction
In the study of Persian literary theory, attention to the perspectives of classical poets regarding the mission of poetry is an often overlooked yet highly valuable topic. Analyzing these perspectives, particularly in classical poetic texts, can play a decisive role in shaping an indigenous theory of Persian poetry. One of the most prominent poet-thinkers whose works contain profound reflections on the function and purpose of poetry is Attar of Nishapur. Among his works, Moṣībat-nāma occupies a special place; according to Shafiei Kadkani, it is, after The Conference of the Birds , Attar’s most important masnavi, in which the poet presents deep and original views on poetry, the poet, and the audience. Unlike many of his predecessors, Attar, with a quasi-philosophical perspective influenced by Sufism, defines multifaceted missions for poetry, which are particularly manifested in Moṣībat-nāma . This article aims to extract and classify these missions and, focusing on the text of Moṣībat-nāma , examines Attar’s views on the purpose and mission of poetry. This study is guided by this research question:
What are the dimensions and functions of the mission of poetry and the poet in Attar’s view, as presented in Moṣībat-nāma , and into what categories can they be divided?
Methodology
This research employs a qualitative approach using a descriptive-analytical method. The study’s primary focus is the content analysis of the versified text of the Moṣībat-nāma , a Sufi epic poem by Attar of Nishapur, which is considered one of the most vital sources for examining his views on poetry and the role of the poet. The first step involved a meticulous reading and re-reading of the entire Musibat Nāma , from which all couplets alluding to concepts related to the mission of poetry and the poet were extracted.
In the second stage, the selected couplets underwent thematic analysis. They were then classified into four overarching categories: the poet’s mission in relation to the audience, the poet himself, poetry, and silence. Each of these categories was further subdivided into sub-themes. This classification was constructed based on the concepts derived directly from the text, supported by references to interpretive sources, works by classical critics, contemporary Sufi texts, and an analysis of classical Persian poetic theory. Furthermore, to better elucidate Attar's perspective, comparative references were made to the works of other poets such as Sanā'ī, Nāṣer Khosrow, and Niẓāmī. The ultimate goal of this methodology was to achieve a systematic portrayal of the position of poetry within Attar's worldview and to formulate his theory of poetry with an indigenous approach rooted in the Iranian-Islamic intellectual tradition.
Research Findings
A careful examination of Moṣībat-nāma reveals that Attar of Nishapur conceives four categories of responsibility for poetry and the poet:
Responsibility toward the audience: The poet’s primary duty is to address the intellectual and religious concerns of the audience and to justify the legitimacy of poetry before the law of religion. Attentiveness to the audience’s capacity for understanding is also essential, ensuring that the poet’s words correspond to the listener’s level of comprehension.
Responsibility toward the poet: The poet must cultivate their own inner capacity to receive and comprehend sublime meanings, composing poetry in moments of leisure and free from the distractions of daily life.
Responsibility toward the poem: This responsibility operates on two levels: formal and substantive. Formally, the poet is obligated to observe meter, rhyme, refrain, and structural conventions. Substantively, the poet must convey wisdom, avoid flattery and satire, and strive for originality in expression.
The responsibility of silence: The poet must recognize when to remain silent. In Attar’s view, silence can at times surpass even the most sagacious speech, serving as a marker of the poet’s mystical maturity and wisdom.
Collectively, these responsibilities constitute a value-based framework for the poet’s duties, which is unparalleled in the Persian mystical and literary tradition.
Discussion and Conclusion
In the Persian literary tradition, the poet’s responsibilities, particularly from the perspective of reflective poets, have seldom been examined in a systematic manner. In his poem Moṣībat-nāma , Attar of Nishapur addresses this topic from philosophical, mystical, and critical perspectives, defining multifaceted responsibilities for both poetry and the poet. The findings of this study indicate that, from Attar’s viewpoint, the poet’s responsibility extends beyond mere artistic expression to encompass domains such as religious instruction, moral refinement, intellectual flourishing, social critique, and even sagacious silence.
According to Attar, the poet bears responsibility toward four elements: the audience, the self, the poetic text, and the divine. Toward the audience, the poet must provide religious persuasion and ensure that the message aligns with the listener’s capacity for understanding. Toward the self, the poet must cultivate moral refinement and the ability to apprehend spiritual mysteries. Toward the poem, the poet must remain faithful both to form and content. And toward the ultimate truth, the poet may at times resort to silence. This value-driven perspective frames poetry not merely as a craft or linguistic play but as a manifestation of wisdom, guidance, and the awakening of meaning.
Attar’s theory in Moṣībat-nāma , emerging from the mystical tradition of Khorasan, possesses the potential to contribute to the formulation of an indigenous theory of Persian poetry and offers a significant step toward re-evaluating the poet’s duties within the Iranian–Islamic cultural context.
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